Artist: Wes Montgomery
   Album: Twisted Blues
   Year: 1965
   Release: 2008
   Format: DVD
   Label: Salt Peanuts
   Time: 43:30
   Size: 1,56 Gb

    Artist: Oscar Peterson
    Album: Oscar Peterson (compilation)
    Label: Barna Record Lab
    Release: 1995
    Format, bitrate: mp3, 320 kb/s
    Time: 54:03
    Size: 124 Mb (cover)

          EVERY DAY IS AN OSCAR PETERSON DAY!

   This nice Portuguese self titled compilation of Oscar Peterson's classic repertoire proves how popular he is all over the world.

     Artist: John Mayall
     Album: Jazz Blues Fusion
     Label:Fruit Gum, Australia
     Year: 1972
     Format: MP3@320 Kb/s
     Time: 45:18
     Size: 101 Mb
     Ted's rating:

   Artist: Django Reinhardt
   Album: Jazz in Paris: Nuits de Saint-Germain des-Pres
   Label: Universal Music (France)
   Year: 1951-1953
   Release: 2002
   Format, bitrate: mp3, 320kb/s
   Size: 75MB
   AMG Rating:


   The Gitanes label has taken it upon itself to reissue on CD some of the late work of gypsy jazz giant Django Reinhardt. The tracks that make up Nuits de Saint-Germain des-Prйs come from three Decca sessions dating from May of 1951 to January 1953, the final year of his life. The title comes from the reopening of the infamous club Saint-Germain des-Prйs, whose reopening coincided with Reinhardt showing off his bop chops to a host of notable American jazzmen, including Benny Carter, Roy Eldridge, Charlie Parker, Don Byas, and others. The bands on all of these sessions are comprised of Young Turks, most notably a youthful Pierre Michelot on bass. The other constants are drummer Pierre Lemarchand and Hubert Fol on clarinets and saxophone; the latter's brother Raymond is the pianist on two of these sessions. Reinhardt's evolution to include bebop phrasing and tempos was a gradual one and, unlike many players of the era, he never lost identity because he incorporated the advanced harmonics and chromatic aspects of the music -- he already possessed the necessary technique, and an electric guitar with its infinitely faster action only helped. The first session here, from May 1951, features three Reinhardt originals, including his old nugget "Impromptu," revved up and retooled for blast-off. It's blindingly quick and, if it weren't for Michelot's constant bass on the pulse, the tune would literally take off. . . .

   Artist: Charles Trenet
   Album: Swing Mr. Trenet 1937-1950
   Label: EMI
   Year: 1937-1950
   Release: 1989
   Format, bitrate: mp3, 320kb/s
   Time: 1:13:24
   Size: 153MB


   Charles Trenet was among the last of his kind of singer, a holdover from the era of pre-World War II France and the prime of Maurice Chevalier, as well as singer/composers such as Georges Brassens and Lйo Ferrй. Originally an art student, Trenet turned to singing in his early twenties, initially in partnership with pianist Johnny Hess in a duo billed as "Charles and Johnny." In his earliest stage persona, Trenet was also known as a musical impressionist, with a special penchant for doing exaggerated impersonations of Chevalier. Ironically, amid the manic antics of the act, he actually suffered from deep stage fright, which he never fully overcame, but later learned to mask. After a year working with Hess, he ended up drafted — into the French Air Force, no less — during which time he shaved his head and sported a monocle, two attributes that gave him a bizarre appearance and got him the nickname, for a time, of "The Singing Madman." He resumed his career and civilian status in 1936, amid that brief mid-'30s period of social and economic reform, culminating with the election of the Popular Front government under Leon Blum. By that time, Trenet had outgrown the Chevalier impressions and came to be known for his smooth, light baritone which, coupled with his seemingly relaxed persona, won over audiences in music hall performances. At one of his most famous engagements, in 1938, he was scheduled to sing three songs in what was the opening set of the evening and was called back by the audience and performed a total of 12 songs that night, and the featured performer never went on. . . .

    Artist: Buddy Guy
    Album: Buddy's Blues (Chess 50th Anniv. Collection)
    Label: MCA/Chess Records
    Year: 1960 - 1967
    Release: 1997
    Format, bitrate: mp3, 192 kb/s
    Time: 52:53
    Size: 73,4 mb
    AMG Rating:

   As part of MCA's Chess Records 50th Anniversary series, Buddy's Blues sweats Guy's multi-disc retrospective, The Complete Chess Studio Recordings down to a scintillating 15-track package and comes up with a bare-bones winner. There are loads of great guitar on classics like "First Time I Met the Blues," "Let Me Love You Baby," "Pretty Baby," "My Time After Awhile," "Stone Crazy," and Guy's voice is at its whiplash exuberant best. Unexpected bonuses pop up in the comp's kickoff track, a full-length version of "Worried Mind," issued here without the overdubbed applause and crowd noises that accompanied its original release on Folk Festival of the Blues (see Muddy Waters' entry). Also noteworthy is Junior Wells' appearance on chromatic harp on "Ten Years Ago," and Guy's stellar guitar behind Lacy Gibson's vocal on a Buddy Guy original, "My Love Is Real." And special note must also be made of the spacious stereo mixes used on this compilation, making these 30-year-old-plus tracks shine like diamonds coming off the laser beam. We also experience all the stylistic turns toward a kinship with the burgeoning soul and rock scenes that Guy would make toward the end of his Chess tenure, along with the smoking slow burners that are his trademark, some of which clock in at four to six minutes here. With his very best tracks compiled on one disc, and with beautiful transfers of them to enhance the listening experience, this should be one of your very first stops in absorbing the sides that made Buddy Guy's reputation among blues fans and guitar aficionados the world over.
   Cub Koda, AMG

    Artist: Buddy Guy
    Album: As Good As It Gets (compilation)
    Label: vanguard Records
    Release: 1998
    Format, bitrate: mp3, 256 kb/s
    Time: 1:19:55
    Size: 115 Mb (full covers)

   Encountering this material in a fresh setting, stripped of the familiar configurations of the original albums, we can reassess this important music in contemporary terms. Right off the bat, As Good As It Gets receives a demerit for omitting "Mary Had a Little Lamb," easily Guy's best known ... waxing. Otherwise, the CD provides a reasonable overview of the mercurial guitarist's output. Best of all, the set uncovers three previously unreleased items from the '67 sessions.
   Amazon.com

    Artist: Oscar Peterson
    Album: The Complete Clef Mercury Studio Recordings Vol III
    Label: Pablo Records
    Year: 1951 - 1953
    Release: 2008
    Format, bitrate: Mp3, 320 kb/s
    Time: 1:12:45
    Size: 163 Mb
    AMG Rating:

          EVERY DAY IS AN OSCAR PETERSON DAY!

   In this present day of image, attitude and hype, it’s almost impossible to believe that at one time in America, a musician actually became famous because of the simple fact that he was technically brilliant. No masks, no fog machines, no uniforms. Pianist Oscar Peterson is arguably the last of this category. Bursting on the scene ”out of nowhere” in 1949, within a couple of years he was considered one of the most important pianist in jazz, when jazz was actually enthused by the generation that now considers rap a cultural advance. Don’t get me started. . . .

   Artist: George Shearing
   Album: The London Years
   Label: HEP
   Year: 1939 - 1943
   Release: 1995
   Format, bitrate: mp3, 320kb/s
   Size: 147MB
   AMG Rating:


   Most of pianist George Shearing's earliest recordings are included on this enjoyable swing-oriented CD. During the war years, when he was in his early 20s, Shearing was most influenced by Teddy Wilson, Earl Hines and Art Tatum, but even at that early stage, he was developing his own musical personality. A virtuoso from the start, Shearing is in consistently brilliant form on these standards, originals, and a few interesting boogie-woogie stomps. Of the 25 selections, 22 are piano solos, two are duets with drummer Carlo Krahmer, and one song ("Squeezin' the Blues") is a rare outing for Shearing on accordion; his backup group consists of Krahmer and Leonard Feather on piano. Highly recommended.
   - Scott Yanow.AMG

   Artist: Ahmad Jamal
   Album: Nature: The Essence, Pt. 3
   Label: Dreyfus Jazz
   Year: 1997/1998
   Release: 2003
   Format, bitrate: mp3, 192 kbps
   Size: 90 Mb
   Time: 51:09
   AMG Rating:

   Still pursuing his own muse, Jamal is up to his usual tricks with his hypnotic vamps and and feverish runs, as ever refusing to toe the line and sound like everyone else. In this, the third installment of his Essence series, Jamal adds a different twist — a fine jazz steel drum player named Othello Molineaux — and he mixes a few transfigured standards ("The End of a Love Affair" is completely re-routed through his nervous system) with pieces of his own. The first version (for quartet) of "If I Find You Again" is a magnificent example of the tension Jamal can generate. "And We Were Lovers" and "Chaperon" are huge, borderline bombastic piano solos that ought to erase any doubts that Jamal continues to command one monster keyboard technique. As in the previous Essence entries, a guest horn player shows up briefly, tenorman Stanley Turrentine in epigrammic form on "Devil's in My Den," and the ultra-responsive rhythm section remains Idris Muhammad (drums) and James Cammack (bass).
   ~ Richard S. Ginell, AMG

    Artist: Buddy Guy
    Album: The Very Best Of
    Label: Rhino / WEA
    Year: 1960 -1981
    Release: 1992
    Format, bitrate: mp3, 320 kb/s
    Time: 1:14:15
    Size: 173 Mb (cover)
   
       

   The Very Best of Buddy Guy is a credible attempt to digitally summarize Buddy Guy's entire pre-Silvertone career on a single 18-song disc. It encompasses the guitarist's 1957 demo "The Way You Been Treating Me," two killer Cobras, four of his hottest Chess sides, a couple notable Vanguards, a pair of alluring Atlantics, and three tremendously unsubtle 1981 items from Guy's days with the British JSP label.
   ~ Bill Dahl, AMG

    Artist: Buddy Guy
    Album: Stone Crazy (The Blues Collection Vol.4)
    Label: Blu NC
    Release: 1992
    Format, bitrate: mp3, 256 kb/s vbr
    Time: 53:14
    Size: 91,1 Mb (full covers)


   Blu NC an obscure record label released in 1992 a collection comprising 92 cds called "The Blues Collection". After John Lee Hooker, B.B. King & Chuck Berry, vol.4 is dedicated to Buddy Guy. The choice of the tracks is taken mostly from the beginning of Guy's career.

   Artist: John Scofield Trio
   Album: Shinola
   Label: Enja
   Year: 1981
   Format, bitrate: Mp3, 320 Kbps
   Time: 37:40
   Size: 42,1 Mb
   AMG Rating:


   Shortly before joining Miles Davis' group, guitarist John Scofield recorded this passionate trio set with electric bassist Steve Swallow and drummer Adam Nussbaum. Much of Scofield's playing here is quite rock-ish although he does show off his jazz chops on Jackie McLean's "Dr. Jackle." The frequently intense music (which has been reissued on CD), which is not as essential as many of the guitarist's later sets, has plenty of fiery moments.
   ~ Scott Yanow, AMG

   Artist: PRIMA MATERIA
   Album: Peace On Earth (music of John Contrane)
   Label: Knitting Factory
   Year: 1994
   Format, bitrate: mp3/194 Kbps
   Size: 117 mb

   Most tributes to John Coltrane focus either on his "sheets of sound" work of the late '50s or his early Impulse recordings. For this spirited outing, the emphasis is on Trane circa 1965, the year his music began emphasizing atonality. With Coltrane's last drummer Rashied Ali and the basses of William Parker (best known for his association with Cecil Taylor) and Joe Gallant playing at their most creative, the rhythm section certainly keeps the music stimulating. Louie Belogenis (on tenor) and Allan Chase (doubling on soprano and alto) have plenty of intense but not forbidding solos, showing that they have learned from Coltrane's innovations but avoiding mere imitation and not feeling compelled to blow the roof off the entire time. Actually the most exciting soloist, altoist John Zorn, is only on two of the five selections, but he makes a strong impression. Other than the eight-minute ballad "Alabama," the other four Coltrane compositions ("Spiritual," "Peace on Earth," "Brazilia" and "India") are each given very lengthy treatment, between 16-19 minutes apiece. The fact that this exciting set continually holds on to one's interest is evidence of how compelling the music is, making this a recommended release for listeners who are open to post-bop sounds.

   Artist: Artist: Elvis Presley
   Album: 30 #1 Hits [5.1 DTS] CD
   Label: SONY
   Year: 2002
   Format, bitrate: DVD-Audio
   Time: 77:07
   Size: 677.8mb


   Commemorating the 25th anniversary of Elvis Presley's death, 30 #1 HITS presents a career-spanning serving of the King's chart-toppers.
   Dating back to "Heartbreak Hotel" (which was inspired by a suicide note printed in the Miami Herald), most of these cuts have become indelibly etched into the fabric of pop culture and each has a unique story behind it. "Love Me Tender" has its origins in the Civil War ballad "Aura Lee," "It's Now Or Never" found Elvis Americanizing the Neapolitan ballad "O Sole Mio," and "Wooden Heart" likewise was converted from a German children's song.
   This Memphis native's choice of artists to cover was equally intriguing and includes Hollywood legend Al Jolson ("Are You Lonesome Tonight?"), New Orleans soul shouter Smiley Lewis ("One Night"), blues great Big Mama Thornton ("Hound Dog"), and country titan Hank Snow ("[Now And Then There's] A Fool Such As I"). Further testimony of Presley's long-lasting appeal is the inclusion of the JXL Radio Edit Remix of "A Little Less Conversation," a UK #1 that not only enabled Elvis to have more chart-toppers than The Beatles, but also became a hit in a number of other countries including the United States.
   This DVD audio features 30 different Elvis Presley #1 hits, re-mixed and re-mastered in 5.1 Surround Sound from the original master tapes. Special features inlcude tracks in reverse order from Elvis 30 #1 Hits CD for optimum sound experience, 3 A:B versions of Elvis songs, comparing the original masters to the newly mixed and re-mastered versions, three rare and never-before-heard outtakes in stereo.
   CDUniverse

   Artist - Charlie Ventura
   Album - Charlie Ventura Plays Hi-Fi Jazz
   Label - Gala Records
   Year - 1956, release - 1958
   Quality - MP3@320 kbps
   Size - 74,5 mb
   Total time - 34:08
   AMG rating



   By 1956 tenor-saxophonist Charlie Ventura no longer had a regular band and was drifting into semi-retirement. In fact, other than an album for King the following year and a set for Famous Door in 1977, this Lp was his final recording. Teamed with the then-unknown pianist Dave McKenna, guitarist Billy Bean, bassist Richard Davis (at the beginning of his career) and drummer Mousey Alexander, Ventura switches between tenor, alto, baritone and bass saxophones. The repertoire is filled with swing and dixieland standards including such unlikely songs as "When The Saints Go Marching In," "Bill Bailey" and "Sweet Sue" (in addition to a remake of Ventura's old hit with Gene Krupa "Dark Eyes") but the interpretations are full of spirit and swing. Although it may not look too promising, this budget Lp (which is long out of print but may be found at a cheap price) is actually well worth picking up.

   Artist: Tete Montoliu
   Album: Blues for Myself
   Label: Ensayo
   Year: 1977
   Format, bitrate: mp3, 320kb/s
   Size: 67 MB
   AMG Rating:

   The blind Catalonian pianist Tete Montoliu is in great form on this 1977 session recorded in Spain, accompanied by bassist Eric Peter and drummer Peer Wyboris. He shows off his tremendous chops in a roller coaster treatment of the bittersweet ballad "You've Changed," then switches to a jaunty mood for a brisk treatment of "It Could Happen to You." Wyboris kicks off the thunderous take of Jimmy Heath's "Jimmy's Tempo," a passionate hard bop vehicle. But the primary focus of this CD consists of four original blues penned by the pianist. It seems likely that at least some of them were improvised on the date, though "Blues for Coltrane" seems to draw inspiration from the late tenor saxophonist's rapid-fire live solos that left little open space. "Blues for Myself," the centerpiece of the release, seems closely related to "You've Changed," though the chord progressions do vary. Released by the Spanish label Ensayo, this disc is worth acquiring.
   ~ Ken Dryden, All Music Guide

   Artist: Count Basie & His Orchestra/ Jimmy Rushing
   Album: Count Basie & His Orchestra: Vocals Jimmy Rushing
   Label: Pickwick
   Year: 1990
   Format, bitrate: mp3, 320kb/s
   Size: 82MB

     Artist: Erroll Garner
     Album: Yesterdays . 1944-49
     Label: Naxos Jazz Legends
     Year: 2001
     Format, bitrate: mp3, 320kb/s
     Size: 86+34MB


   Erroll Garner was one of the great jazz piano stylists that emerged in the 1940's, being self taught he was able to break all the rules, or maybe he just established some new ones of his own! He had a unique style, often imitated but never sounding as good as the original. A feature of his latter day concerts were long flowery cola voce introductions and it was interesting to watch the Bass player listening hard, because Erroll could play any tune in any key and frequently did!
   The fascinating thing about this CD, which covers only a small amount of his output recorded in the period 1944 to 49, is how he develops as a trio player. In the earlier tracks the Bass player and Drummer are almost superfluous, this was a trend which continued and during later periods the Trio became a highly integrated unit. It is by track 6, 4&5 are Piano Solos that we hear the trio start to work as a unit. Track 6 is of course Indiana, a great jazz standard and this version has everything we associate with Erroll, chorus after chorus of inventive improvisation. Stardust and Laura repeat the dose but this time in Ballad format, Stardust being a Hoagy Carmichael tune, has the subtle chord changes that bring out the best in Erroll's performance. Frantonality seems to have more than a touch of 'Love Me or Leave Me' about it to me, but as he wrote Misty, his immortality as a songwriter is assured anyway. He has a good original called Trio as well; it has certainly stood the test of time well and sounds extremely fresh even now. Blue Lou has the great Tenor Sax stylist Wardell Gray on Tenor and Irving Ashby on Guitar, it gives us the opportunity to hear Erroll comping behind other players, something it appears he was good at, but a roll he was not often heard in.
   If you are a Garner fan or you need an introduction to his work, this CD is very good value in many ways.
      Don Mather (Saxophone Player and Bandleader in Coventry)